Tatyana Tolstaya - The Slynx

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The Slynx: краткое содержание, описание и аннотация

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Tatyana Tolstaya's powerful voice is one of the best in contemporary Russian literature. She wrote many a commentary on modern-day Russia for the New York Review of Books before moving back to Moscow to complete her first novel, The Slynx. Tolstaya is a descendant of the great Leo Tolstoy but that might be beside the point.
The Slynx is a brilliantly imaginative satire set in a hypothetical Moscow two hundred years after an event termed "the Blast." The Blast has forever altered the landscape of Moscow. People now live with mutations, called Consequences. Some have cockscombs growing everywhere, some have three legs and then there are the Degenerators who are humans in doglike bodies. Some "Oldeners" still linger on. Their only Consequence is that they remain unchanged and seemingly live forever. They remember life before the Blast and moan the primitive cultural mores of the society they live in, where only the wheel has been invented thus far and the yoke is just catching on. This feudal landscape is ruled by Fyodor Kuzmich, Glorybe, a tyrant who rules with an iron hand. Kuzmich passes off all Russian literature as his own works and issues decrees at the drop of a hat to keep the public ignorant and docile.
The primary protagonist of The Slynx is a young scribe, Benedikt. His job is to copy all of Kuzmich's "works" on to bark, for use by the public. Benedikt marries a coworker, Olenka, and discovers the wonder of books through his father-in-law, Kudeyar Kudeyarich. His father-in-law, however, harbors nefarious plans to oust the current regime. Benedikt's love of books soon turns ugly and Kudeyarich channels this force to implement his own evil designs.
The Slynx is translated fluidly by Jamey Gambrell. One wonders how she worked in intelligent phrases such as: "You feel sorry for someone. Must be feelosophy." Tolstaya's descriptions of the futuristic backdrop where people eat and trade mice as currency are bizarre yet not hugely so. Sometimes she seems to be so in love with her own creation that the storyline tends to wander. But she does not stray too far and her prose dripping with rich imagery more than makes up for it.
Tolstaya's futuristic Russia might not be very different from the one she often complains about. "Why is it that everything keeps mutating, everything?" laments an Oldener, "People, well all right, but the language, concepts, meaning! Huh? Russia! Everything gets twisted up in knots." The perils of a society in which "Freethinking" is a crime and where an indifferent populace can be "evil" are ably brought out by the gifted Tolstaya. "There is no worse enemy than indifference," she warns, "all evil in fact comes from the silent acquiescence of the indifferent." The scary "Slynx," in the novel, is a metaphor for all the evil that is waiting to rear its ugly head on a sleeping people.
The Slynx's descriptions of a tyrannical society might be too simplistic to apply to Russia. Its reception in the country has been mixed. The newspaper Vechernaya Moskva commented: "After all that we have read and thought over about Russia during the last fifteen years, this repetition of old school lessons is really confusing. There is a surfeit of caricatures of the intellegentsia, of anti-utopias depicting the degradation and decay of the national consciousness, and postmodernistic variations on the theme of literary-centrism." That having been said, Tolstaya's haunting prose serves as a chilling reminder of the way things could be, especially when government censorship and other controls move silently back in. The "Slynx" is never too far away. History, as they say, does tend to repeat itself.

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I'm not ill, I'm not ill, no, no, no. No, no, don't let the Saniturions come, no, no, no. God forbid, God forbid, no, no, no.

YEST

When kitty died, there was no one to catch mice. You won't catch too many with bare hands. Of course science doesn't stand still, it just keeps inventing things. Benedikt would sometimes make loops, noose traps. He'd twist threads into a stiff string, rub it good and well with mouse lard, wind a special loop on one end so that it would slide, try it out on his finger-and he was off to the hunt. Our floors are all cracked and gaping, not so much on account of being poor, but so it's easier for the mice to come out. Come on out now, little critters!

I have seen you, little mouse, Running all about the house, Through the hole your little eye In the wainscot peeping sly, Hoping soon some crumbs to steal, To make quite a hearty meal.

They say that the rich Golubchiks who have tall, painted terems two stories high-Murzas, for instance, or someone who has grown fat from a dishonest life-those ones have all the cracks stuffed up so there's no draft even in the deepest winter. And how do they get their food? They've got special serfs sitting in the cellars, and those serfs are trained to attack mice. That's all they know how to do. People say they sit there in the cellars day in and day out in the pitch dark, but they can see like it's high noon. They can't even come out into the light, they'd go blind right off, and their mice-catching days would be over. Who knows? Could be.

But we're simple folk, we lie down on the floor on our bellies, stick the noose in a crack and give it a tug. Mice are stupid critters. They're curious: what is that noose doing over there? And they'll stick their heads right in the loop and then: whoop! You give it a jerk.

Fyodor Kuzmich, Glorybe, made a scientific invention for us. The mouse trap. Well, people do have those too, but they just stand there idle. You have to put a piece of food in the mouse trap for it to work, otherwise the mice aren't interested and won't go near it. Thieves, on the other hand, are very interested. As soon as you've left home, a thief will find out that you have food lying about, and he'll come take a look. He'll clean you out of house and home and won't even say thank you.

That's just what thieves do: they take everything. Meat, noodles, nuts, goosebread, marshrooms, if you've got them saved up -everything. But they don't take rusht. There's plenty of it everywhere. You have to be a real lazybones not to have enough rusht! True, if it's really good rusht, dry and fluffy-then they might go after it. They might take the rusht too.

You can understand a thief. Here he is, walking through the village and he sees the izba door is closed with a stick. The owners aren't home. They're out, but there might be some rabbit meat in the izba. Mightn't there? It is possible, isn't it? Yes indeed, there might! Maybe the owner managed to hit a rabbit with a rock, or maybe he traded eggs or horsetail with his neighbors. Maybe he's got a knack for catching rabbits! The idea gets into your head and stays there. If you walk on by you'll never know. You can't help taking a peek. So the thief goes in, looks around. If he guessed right and there's meat-he'll take it. If not, he gets mad that there isn't any and he'll take whatever he can find, even worrums. And once he's pinched one thing, what's to hold him back? The izba's already been burgled, he figures, and so he'll go and clean the place out.

But Benedikt doesn't have anything to steal. He doesn't keep provisions, he eats what he catches. All that's there is a full trunk of rusht.

What's so good about rusht? Well, it's good for all sorts of things. You can smoke it, and drink it, and make ink out of it, and dye threads with it if someone wants to embroider a cloth. It makes good mead, especially when winter's coming. You can use it to keep the house warm by sticking it between the logs to fill the cracks. Some people have tried to cover the roof with it, but that doesn't work. The bunches are round and stiff-it just falls apart. Straw is good for a roof. If you're rich, you can use wood planks.

You can find rusht in the bog. On weekends everyone grabs a basket as soon as it's light and sets off in different directions. Benedikt found a good place. Nikita Ivanich put up a post there that says "Garden Ring." There's no ring of course, just izbas in rows. The town ends there. And right beyond the izbas there's a bog full of rusht. More than you can pick. Even the locals won't shoo you away; other Golubchiks would beat you up for going near their place, but these people don't care. So you hurry along just after dawn, in winter it's murky, red, and blows cold.

From the dawn a luxurious cold Pierces the garden.

Just like Fyodor Kuzmich wrote.

We don't have gardens, of course, only maybe a Murza might, but the part about the cold-that's true enough. It goes straight through you. Benedikt's felt boots have thinned out, his feet can feel the snow. You run quick quick over Foul Bridge to the top of the hill, then down again past the Cockynork neighborhood. If a Cockynork sticks his head out you throw a rock at him to warm yourself up, and keep running. You throw the rock because the Cockynorks, they don't talk like us: all they say is blah-blah-blah and blah-blah-blah-you can't understand a thing. Why do they talk like that, why don't they want to talk like we do? Who knows. Maybe on purpose. Or maybe it's just a bad habit, that kind of thing can happen.

They're just cutting off their noses to spite their faces. What can they say in Cockynork? Our language is handier any way you look at it: you can sit down, talk things over, discuss them: such and such and thus and so. And everything's clear as day.

The Cockynorks are just plain stubborn and that's all there is to it. Some say that their noses get in their way; that they'd be happy to sit down and chat in our language, except for their noses. Their noses practically touch the ground-it's really funny. That's the Consequence they have.

When our people don't have anything to do, they sometimes get together in the evening at the Cockynork settlement, climb up on the fence, look all around, and laugh. Hey, Cockynorks, how come your noses are hanging down? Trying to smell your shoes? We'll wipe your noses for you! They run out and they're all mad. It's so funny-they close their shutters tight, hustle the children into the house, chattering blah-blah-blah all the while. And if you throw a rock and hit one of them on the forehead, he yells ouuuuch! But he doesn't grab the lump with his hand, he uses his nose instead, and that's really hysterical. Our lads nearly fall off the fence laughing.

Ivan Beefich, who has a little hut on Rubbish Pond, loves these kinds of pranks so much that he collects rocks-he digs them up in his garden and saves them in a barrel. If the lads are heading off to the settlement, they can't sneak by him, he knows, he keeps watch out the window. Wait, guys, take me with you, I won't make it on my own!

Ivan Beefich has really bad Consequences. His head, arms, and shoulders are all strong, straight, and powerful, it would take three days to unscramble them, as they say. But right after his underarms come the soles of his feet, and in the middle there's an udder. That's what Nikita Ivanich called it: an "udder," but we don't have a word like that, why would we, what do we need it for, it's not in any books. We just call it titties.

Sometimes there's a mix-up of course. Once the guys went to tease the Cockynorks and one of them carried Ivan Beefich piggyback. He had two whole capfuls of rocks, and was singing. He's master singer of old songs. He starts off with: "Hey, Dunya, Dunya, Dunya, die, she clobbered Vanya in the eye!" And he wiggles his shoulders and rolls his eyes, his teeth sparkle all white-a real dashing daredevil, that fellow. Of course, since he was singing, the Cockynorks heard him coming, they shut their windows and doors and hid out, only they forgot one old man in the yard. Well, he got it from everyone. And that nasty old man got so mad, he picked up a rock with his nose, just like it was his hand, and pow! He bonked Ivan Beefich right on the udder. Ivan Beefich went plop-and lay there. Our lads got furious: how dare they hit one of our guys-and they tore up half the Cocky-nork settlement.

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